I walked about with untmost circumspection, to avoid any stragglers, that might remain on the streets.

THE
MACMILLAN COMPANYNEW
YORK 1917

THE PUBLISHER TO THE READER

HE
author of these Travels, Mr. Lemuel Gulliver, is my ancient and
intimate friend; there is likewise some relation between us by the
mother's side. About three years ago, Mr. Gulliver growing weary of
the concourse of curious people coming to him at his house in
Redriff, made a small purchase of land, with a convenient house, near
Newark, in Nottinghamshire, his native country; where he now lives
retired, yet in good esteem among his neighbours.

Although
Mr. Gulliver was born in Nottinghamshire, where his father dwelt, yet
I have heard him say his family came from Oxfordshire; to confirm
which, I have observed in the churchyard at Banbury, in that county,
several tombs and monuments of the Gullivers.

Before
he quitted Redriff, he left the custody of the following papers in my
hands, with the liberty to dispose of them as I should think fit. I
have carefully perused them three times: the style is very plain and
simple; and the only fault I find is, that the author, after the
manner of travellers, is a little too circumstantial. There is an air
of truth apparent through the whole; and indeed the author was so
distinguished for his veracity, that it became a sort of proverb
among his neighbours at Redriff, when any one affirmed a thing, to
say it was as true as if Mr. Gulliver had spoke it.

By
the advice of several worthy persons, to whom, with the author's
permission, I communicated these papers, I now venture to send them
into the world, hoping they may be at least, for some time, a better
entertainment to our young noblemen, than the common scribbles of
politics and party.

This
volume would have been at least twice as large, if I had not made
bold to strike out innumerable passages relating to the winds and
tides, as well as to the variations and bearings in the several
voyages; together with the minute descriptions of the management of
the ship in storms, in the style of sailors: likewise the account of
longitudes and latitudes; wherein I have reason to apprehend that Mr.
Gulliver may be a little dissatisfied: but I was resolved to fit the
work as much as possible to the general capacity of readers. However,
if my own ignorance in sea-affairs shall have led me to commit some
mistakes, I alone am answerable for them: and if any traveller hath a
curiosity to see the whole work at large, as it came from the hand of
the author, I will be ready to gratify him.

As
for any further particulars relating to the author, the reader will
receive satisfaction from the first pages of the book.

RICHARD
SYMPSON.

INTRODUCTION TO "GULLIVER'S
TRAVELS"

I

HE
man who wrote "Gulliver's Travels" was great in
personality, great in intellect, great in achievement; great too in
pride, and great in unhappiness. His people belonged to the English
squirarchy. A brother of his father married into an important Irish
family and afterwards went over and secured a remunerative office in
Ireland. The attraction of his brother's influence brought Jonathan
Swift's father over. He obtained a small appointment and died,
leaving a young wife and an infant daughter. Seven months after his
father's death, in 1667, the author of "The Battle of the Books"
and "A Tale of a Tub" and "Gulliver's Travels"
was born in Dublin.

He
was not Irish either by kin with the Celtic people or the
Norman-Irish or the older English colonists. And yet he seems to be
Irish by some strange influence. He is Irish by his power of satire
and by that reserve that has made the love-interest in his story so
puzzling to commentators; he is Irish by his social gift and by his
concentrated animosity; he is Irish by his ability for enlisting the
populace and of carrying on a propaganda as one might carry on a
battle — by horse, foot and artillery. It is noteworthy that the
type of literature which we call "Rabelaisian" has, in its
better examples, come from the Gaelic frontiers. Sir Thomas Urquhart,
a Gael of Scotland, made the grand version of "Pantagruel";
Swift, born and reared in Ireland, wrote "A Tale of a Tub";
Laurence Sterne, born in Ireland too, and of an Irish mother,
contributed that changeling's book, "Tristram Shandy."
Swift did not like Ireland as a residence, but in Ireland he was
looked on as a native, while in England he was a stranger — an
Irish condottiere — a "Teague," or, it would be now, a
"Paddy" or a "Mick." No doubt it was his national
nonconformity rather than his outrageous expression that prevented
his reaching the highest political or ecclesiastical preferment. He
complains again and again that when it comes to the giving of
important employments, the Irish — even the English in Ireland —
are always discountenanced. As a man ambitious of the highest place
he deplored the fact that he was born an Irishman. But he refused to
concede that the English were in any way superior to the people they
dominated: the Irish peasantry, "the poor cottagers," had,
as he wrote, "much better natural taste for good sense, humour,
and raillery than ever I observed amongst the like sort in England."
Nor was he misled by the fantastic psychology that is always invented
for a subject by an exploiting people. The cause of Irish ruin was
for him clearly objective: "Their trade was deliberately crushed
purely for the benefit of the English in England," he wrote to
Walpole, "all valuable preferences were bestowed upon men born
in England as a matter of course, and finally, that in consequence of
this the upper classes, deprived of all other openings, were forced
to rack-rent their tenants to such a degree that not one farmer in
the Kingdom out of a hundred could afford shoes or stockings to his
children, or to eat flesh or to drink anything better than sour milk
or water twice in a year."

Swift,
the proudest of men, was a dependent upon others until his thirties.
He was educated by the bounty of his uncle; he got a university
degree by a back-door and was shipped over to England to get some
preferment through his mother's kin; for seven years and again for
three years he lived in a great house, partly as a dependent and
partly as a secretary; he broke away at the end of seven years to a
small rectory, "a hedge-parsonage," he called it, in the
north of Ireland; he returned to the great house and was three years
more there — this term he was less the dependent and more the
secretary.

His
patron was Sir William Temple, a great and complacent gentleman, who
had been a statesman and a diplomat, who now gardened, wrote essays
and compiled his memoirs, and was consulted upon occasions by the
king and the ministers. Being his assistant was like being in the
Foreign Office. Swift had now an apprenticeship in affairs — a less
distracted apprenticeship indeed than young diplomats generally get
in the regular offices. In his second term with Temple and before his
thirties he wrote two extraordinary books, "The Battle of the
Books" and "A Tale of a Tub." Dr. Johnson called the
last "a wild book." It is a wild book — wild like an
unbroken stallion. When Swift left Temple's house he was known to a
few as the most powerful writer in English. He was, besides, possibly
the best educated young man politically in the British Kingdoms.

The
proud Roman asked to be first in an Iberian village if he could not
be first in Rome. Swift's Iberian village was Larcor in Meath,
Ireland. But his fame was growing in the capital. His "Battle of
the Books" and his "Tale of a Tub," now published,
were acclaimed. He wrote political pamphlets and he headed a mission
from the Irish Protestant clergy to the Government in London.

His
eyes, blue as azure, were somewhat protruding, and were arched by
black brows. His face could hold such concentrated rage as to
affright the one whom he turned against. His movements were quick and
nervous and his bearing was vigorous, for he took much exercise,
walking a great deal every day. He was on terms with the common
people and he delighted in reproducing their turn of phrase.
Altogether he must have appeared as an energetic, commanding and
communicable man. But he was afflicted with a dread disease —
"labyrinthine vertigo" the physicians have since named it:
it gave him frightful pains in the head and these were accompanied by
giddiness and fainting-fits. And this malady left a mental shadow — he
had a premonition that it would lead to his madness.

His
mind, he knew, "was a conjured spirit" that would do
mischief if he did not give it employment. For "the many
thousand wretches" who made up the world he felt hatred and
scorn. He spoke of his hate "that on a day" would make "sin
and folly bleed," and of his "scorn for fools by fools
mistook for pride." Yet he had many friends, and their
attachment was a solace to him. There was Esther Johnson, whom he
named "Stella." She had been a ward of Sir William Temple,
and when Swift had been three years settled in Larcor he invited her
and her companion to live near him. Between him and her there was
unbroken intimacy and affection. "I knew her," he wrote,
"from six years old and had some share in her education by
directing what books she should read, and perpetually instructing her
in the principles of honour and virtue, from which she never swerved
by any one action or moment in her life. She was sick from her
childhood until about the age of fifteen; but then grew into perfect
health, and was looked upon as one of the most beautiful, graceful
and agreeable young women in London. . . . Her hair was blacker than
the raven, and every feature in her face perfection." Stella
gave her girl's affection and her woman's devotion to Swift, and, as
far as we know, she made no demands on him. Very likely it was his
malady with its terrible intimations of madness that stood in the way
of his marriage with her.

For
four years — from when he was forty-three to when he was
forty-seven — Swift was on the pinnacle of the greatest success. He
had as much influence as an important cabinet minister would have
now. The patricians who ruled England called him by his Christian
name and their ladies had to sing for him when he bade them. He was
able to get for his friends the greatest employments, and his
influence was such that he could say on behalf of Pope's "Iliad,"
"the author shall not begin to print till I have a thousand
guineas for him." He used his position to advance authors —
Pope, Steele, Congreve, Parnell and others less eminent. It seemed
part of his pride to make those who were of his own craft honored and
secure in their fortune.

He
came to this position by being the great editorial writer of his day.
He was the first writer in English who was able to mould public
opinion, — who was able to do in a pamphlet what the greatest
orators were able to do in a speech — state a public policy with
authority, with invincible logic and in a way that would have popular
appeal. He helped to bring a victorious but wearying war to an end
and thus made the fortunes of a political party.

But
his political friends were not eager to make his fortune. There was
the embassy to Vienna — Swift did not get it; there was the bishopric
in Waterford — it was not given him. Finally he had to make a
demand for "something honourable." He was given, not one of
the great offices, but a place such as would be given to the
well-conducted brother of an heir — the Deanry of St. Patrick's in
Dublin. Before he took up his duties there the political party he had
helped to raise up was annihilated. After that Swift was a political
chief in exile — nay, a political chief banished and proscribed.

Tristram
had his two Iseults and Swift had his two Esthers. The second was
Esther Vanhomrigh, a very independent young woman whom he had met in
London in the day of his power. She declared her passion for him and
Swift received her declaration with "shame, disappointment,
grief and surprise." A man of another nationality might have
been more responsive. However, he wrote her a poem "Cadenus and
Vanessa," and he tolerated her coming to Ireland. He named her
Vanessa. She went to live in a place about twenty miles from Dublin,
and with Stella on one side of him and Vanessa on the other the
triangle of the dramatists was formed.

Swift
in Dublin, as we have said, was a political chief in exile, or rather
a political chief proscribed. But here he had a second career — a
career exciting, tragic and disastrous. He made himself the tribune
of the people. First he turned on a government that was about to
perpetrate one of the usual jobs on Ireland and he forced it into the
position of a tough who had finally to throw up his hands. He
organized a boycott against English imports and he wrote powerfully
and with ferocious satire on the conditions that were leading to the
economic ruin of Ireland. With his intervention in public affairs a
new chapter in Irish history begins, and Swift has to be reckoned as
the first leader of public opinion in the Ireland that came into
being after the destruction of Catholic leadership. He made himself
so conspicuously the champion of the Irish people that the Chevalier
Wogan — he who carried off the Princess Clementina for a bride for
the Pretender — as a representative Irish exile sent him a present
of wine and a letter of thanks.

He
worked through Gulliver's voyages and he brought the affair of
Vanessa to an end. That misguided lady wrote a letter that was a
demand on Stella to define her relations with him. This drew down on
her a dread visitation. Swift rode to her house, laid down the letter
on a table, looked at her, and departed without saying a word. One
might say that the encounter turned the current of Vanessa's life.
She died soon after. Swift might hold himself blameless, but he must
have been made to realize

'Tis
an awkward thing to play with souls,And
matter enough to save one's own.

Some
portion of remorse must have been added to his other afflictions. The
writing of "Gulliver" still went on. But now Stella became
ill and her illness became threatening. Swift was affrighted into
cowardice. She died and he was left with nothing but the indignation
that his epitaph commemorates — the indignation that lacerated his
heart, the indignation that ate his flesh and exhausted his spirit.
In "Gulliver's Travels" we can see the progress of this
destructive force. A year after Stella's death the book was
published. Ten years later the shadows closed around Swift's mind and
the day came when he said "I am mad." In the last episodes
of Gulliver, as in the last stories of Mau-passant and the last
rhapsodies of Nietzsche, we are oppressed by the shadow of
intellectual ruin.

II

Just
as the man of to-day has to refer to many inventions, so the writer
of to-day has to refer to many ideas. It was not so with the older
writers: they referred to few ideas and they were able to spend all
their power in illustrating them. The modern writers have abundance
in idea, whereas the older writers had abundance in power.

This
difference is very notably shown by "Gulliver's Travels."
It is all an illustration of one idea firmly held:

Swift
looks from above down upon men; he looks from below up at them, and
then he looks at them from behind. He breaks into no complexity of
idea. But he puts so much power into his statement that we know as
much about the Lilliputians and the Brobdingnagians and the
Houyhnhnms as if we had read our twelve volumes on each by the Gibbon
of their respective empires.

In
each of the four voyages there is satire in the formal sense —
particular institutions and policies, special crimes and vices are
exposed to our mockery and our disgust. But these exposures are only
side-attacks: the satire is in the world which Swift creates over
against our own — a world in which there is no place for our
affection; by creating such a world he has made a great general
satire.

He
creates this world most triumphantly when he alters the measurement
of man; he creates it most horribly when he gives beasts the reason
of men and gives men the habits of beasts; he creates it again when
he makes human reason occupy itself solely with frivolous things.
This world in which there is no place for our affection is in itself
a satire upon our world, the atmosphere of which is human affection.
We can feel no affection for beings so small that they would be
infants to our infants, and so large that they would be higher than
our houses; so pedantic that they would weary our reason and so foul
that we should shrink away from them. No one has created more
triumphantly this world without atmosphere — this world in which
there is nothing between us and the peoples' functions.

But
if there is no place for our affection in such a world, there is all
the more place for our wonder. Here is the world of the little,
reasonably arranged for us, and as we go through it we feel the same
wonder as at the egg of the hummingbird; here is the world of the
big, also reasonably arranged, and as we go through it we feel the
same wonder as at the egg of the ostrich; here is the flying island,
and here are the beasts that conduct themselves with the
reasonableness of men. It is a wonder-tale such as Julius Cćsar
would have recounted — ordered, informing, literal. It has the
general's or the statesman's or the historian's sense of fact. If the
Lilliputians measure up to humanity inch for foot and if the
Brobdingnagians tower above them foot for inch, everything in their
respective countries—trees, crops, animals, temples, ships —are
exactly to scale. Only once do his enemies, the mathematicians, find
Swift out in his reckoning. It is when he describes Gulliver drawing
the fleet of the Blefuscians into the Lilliputian harbor. He draws
fifty ships by their cables "with great ease." The author
supposes, notes Professor De Morgan, that a man up to his neck in
water could drag by a rope a mass equal to 50/1728 of a line of
battle ship of his own time — "or put it thus: the 30,000 men
who jumped out of their ships would amount in weight and bulk to a
little more than seventeen men of our size. Could a man up to his
neck in water drag (‘with great ease') the boat which would hold
seventeen men not closely packed? Probably not; and still less could
Gulliver have dragged the ships." But we feel more inclined to
take Gulliver's word for it than to accept the mathematician's
demonstration.

"Gulliver's
Travels" is a fairy tale inverted. In the fairy tale the little
beings have beauty and graciousness, the giants are dull-witted, and
the beasts are helpful, and humanity is shown as triumphant. In
"Gulliver" the little beings are hurtful, the giants have
more insight than men, the beasts rule, and humanity is shown, not as
triumphant, but as degraded and enslaved.

The
third voyage — the one to Laputa — is outside the simple formula
that is suggested by our most vivid recollection of "Gulliver"
— the formula of looking down at humanity, of looking up at
humanity and of looking at humanity from the other side; it differs
from the other voyages too in being, not a narrative but a series of
satirical studies. Gulliver ceases to be a hero and becomes a
bystander. In Swift's own day it was doubted that the voyage to
Laputa was by the same hand as wrote the voyages to Lilliputia, to
Brobdingnagia and to the country of the Houyhnhnms. But who else
could have written the account of the Academy of Projectors and the
description of the Struldbrugs? This particular voyage belongs
to Gulliver's travels only because Swift tells us that the
surgeon-captain went to and came back from such places — that is to
say, only by the opening and closing passages. But it is wonderful
writing, and just because it is a series of studies rather than a
regular narrative, it makes relief between the first two and the
fourth voyage.

Because
"Gulliver's Travels" seems to belong to an older era in
literature it is well to remind ourselves that it was written after
"Robinson Crusoe." Swift need not have owed anything of his
literal and exact style to Defoe — he was literal in his verse and
literal in his jokes. Both he and the author of "Robinson
Crusoe" modelled their imaginary voyages on the accounts of real
voyages written by English seamen — even by just such seamen as the
surgeon-captain, Lemuel Gulliver — men who could have invented
nothing and who made even the discoveries of Australia and the
paradisal islands of the South Seas as unimaginative as a volume of
sermons by the ship's chaplain. Swift brings to the composition of
his imaginary voyages an inspired literalness. What could be more
authentic and at the same time be more of a literary discovery than
his names, geographical and personal? Robinson Crusoe is a good name,
but it is a name that the ship-chandler might invent. But think of
Lemuel Gulliver! It is the name of a traveller, but not quite a
prosaic traveller — a traveller born under some credulous star. It
is not, however, the name of the voyager to Laputa. The stranger
there was so much of a worldling as to be able to take the attitude
of a bystander. Captain Gulliver was too simple a man to take such
clever stock of the Academicians and the Projectors.

Swift
had his own secret "little language" from which he derived
words and names. Lilliputian, Brobdingnagian, Houyhnhnm,Yahoo
are words permanently added to the language of mankind. Only
Swift, the man who invented riddles, made puns and concocted secret
languages, could have discovered them. And the words he gives from
the Lilliputian and Brobdingnagian and Houyhnhnm are in
perfect keeping with our ideas of the speakers. We could lisp in
Lilliputian but we would neigh in Houyhnhnm, and we should
need superhuman speech-organs to pronounce the Brobdingnagian
consonants. The voyager presents us with only a few words from each
language, but back of these words there seems to be an intellectual
history. One feels that philologists might reconstruct whole
languages from them.

No
book in the history of literature has had such good fortune as
"Gulliver's Travels." It has gone into the world and the
world has received it as its own, and it has gone into the nursery
and the nursery has given it the immortality of "Jack and the
Beanstalk." It has been read by children as a wonder-tale and by
statesmen in exile as a piece of secret history. Here the "Travels
of Lemuel Gulliver into remote Nations of the World" are
presented, not for their worldliness, but for their wonder. The
voyages have been made over, as often before, into a story for
children. For them Gulliver will bestride a country, and will walk
through streets taking care that his clothes do not brush down the
houses; he will be put into a giant's pocket, and will be carried
away, house and all, in an eagle's beak; he will come to the flying
island, and afterwards will be spoken to by the wise horses. And,
until they are as old as she was, the folk who read it need not
understand what Sara, Duchess of Marlborough meant when she said
"Tell him it is the most accurate account of Kings, ministers,
bishops and courts of justice that it is possible to be writ."

PADRAIC
COLUM.

CONTENTS

PART
IA
VOYAGE TO LILLIPUT

CHAP.
I. The Author gives some account of himself and family, his first
inducements to travel. He is shipwrecked, and swims for his life,
gets safe on shore in the country of Lilliput, is made a prisoner,
and carried up the country

CHAP.
II. The Emperor of Lilliput, attended by several of the nobility,
comes to see the Author in his confinement. The Emperor's person and
habit described. Learned men appointed to teach the Author their
language. He gains favour by his mild disposition. His pockets are
searched, and his sword and pistols taken from him

CHAP.
III. The Author diverts the Emperor, and his nobility of both sexes,
in a very uncommon manner. The diversions of the court of Lilliput
described. The Author has his liberty granted him upon certain
conditions

CHAP.
IV. Mildendo, the metropolis of Lilliput, described, together with
the Emperor's palace. A conversation between the Author and a
principal secretary, concerning the affairs of that empire. The
Author's offers to serve the Emperor in his wars

CHAP.
V. The Author, by an extraordinary stratagem, prevents an invasion. A
high title of honour is conferred upon him. Ambassadors arrive front
the Emperor of Blefuscu, and sue for peace

CHAP.
VI. Of the inhabitants of Lilliput; their learning, laws, and
customs, the manner of educating their children. The Author's way
of living in that country. His vindication of a great lady

CHAP.
VII. The Author, being informed of a design to accuse him of
high-treason, makes his escape to Blefuscu. His reception there

CHAP.
VIII. The Author, by a lucky accident, finds means to leave Blefuscu;
and, after some difficulties, returns safe to his native country

PART
IIA
VOYAGE TO BROBDINGNAG

CHAP.
I. A great storm described, the long-boat sent to fetch water, the
Author goes with it to discover the country. He is left on shore, is
seized by one of the natives, and carried to a farmer's house. His
reception there with several accidents that happened there. A
description of the inhabitants

CHAP.
II. A description of the farmer's daughter. The Author carried to a
market-town, and then to the metropolis. The particulars of his
journey

CHAP.
III. The Author sent for to court. The Queen buys him of his master
the farmer, and presents him to the King. He disputes with his
majesty's great scholars. An apartment at court provided for the
Author. He is in high favour with the Queen. He stands up for the
honour of his own country. His quarrels with the
Queen's dwarf

CHAP.
IV. The country described. A proposal for correcting modern maps. The
King's palace, and some account of the metropolis. The Author's, way
of travelling. The chief temple described

CHAP.
V. Several adventures that happened to the Author. The Author shows
his skill in navigation

CHAP.
VI. Several contrivances of the Author to please the King and Queen.
He skews his skill in music. The King inquires into the state of
Europe, which the Author relates to him. The King's observations
thereon

CHAP.
VII. The Author's love of his country. He makes a proposal of much
advantage to the King, which is rejected. The King's great ignorance
in politics. The learning of that country very imperfect and
confined. The laws, and military affairs, and parties in the state

CHAP.
VIII. The King and Queen make a progress to the frontiers. The Author
attends them. The manner in which he leaves the country very
particularly related. He returns to England

PART
IIIA
VOYAGE TO LAPUTA, BALNIBARBI, LUGGNAGG, GLUBBDUBDRIB, AND JAPAN

CHAP.
I. The Author sets out on his third voyage, is taken by pirates. The
malice of a Dutchman. His arrival at an island. He is received into
Laputa

CHAP.
II. The humours and dispositions of the Laputians described. An
account of their learning. Of the King and his court. The Author's
reception there. The inhabitants subject to fear and disquietudes

CHAP.
III. A phenomenon solved by modern philosophy and astronomy. The
Laputians' great improvements in the latter. The King's method of
suppressing insurrections

CHAP.
IV. The Author leaves Laputa; is conveyed to Balnibarbi, arrives at
the metropolis. A description of the metropolis, and the country
adjoining. The Author hospitably received by a great Lord. His
conversation with that Lord

CHAP.
V. The Author permitted to see the Grand Academy of Lagado. The
Academy largely described. The Arts wherein the professors employ
themselves

CHAP.
VI. The Author leaves Lagado, arrives at Maldonada. No ship ready. He
takes a short voyage to Glubbdubdrib. His reception by the Governor

CHAP.
VII. The Luggnaggians commended. A particular description of the
Struldbrugs, with many conversations between the Author and
some eminent persons upon that subject

CHAP.
VIII. The Author leaves Luggnagg, and sails to Japan. From thence he
returns in a Dutch ship to Amsterdam, and from Amsterdam to England

PART
IVA
VOYAGE TO THE COUNTRY OF THE HOUYHNHNMS

CHAP.
I. The Author sets out as Captain of a ship. His men conspire against
him, confine him a long time to his cabin, set him on shore in an
unknown land. He travels up into the country. The Yahoos, a
strange sort of animal, described. The Author meets two Houyhnhnms

CHAP.
II. The Author conducted by a Houyhnhnm to his house. The
house described. The Author's reception. The food of the Houyhnhnms.
The Author in distress for want of meat, is at last relieved. His
manner of feeding in this country

CHAP.
III. The Author studious to learn the language, the Houyhnhnm his
master assists in teaching him. The language described. Several
Houyhnhnms of quality come out of curiosity to see the Author. He
gives his master a short account of his voyage

CHAP.
IV. The Houyhnhnm’s notion of truth and falsehood. The
Author's discourse disapproved by his master. The Author gives a more
particular account of himself, and the accidents of his voyage

CHAP.
V. The Author, at his master's commands, informs him of the state of
England. The causes of war among the princes of Europe. The Author
begins to explain the English constitution

CHAP.
VI. The great virtues of the Houyhnhnms. The education and exercise
of their youth. Their general assembly. Their learning. Their
buildings. Their manner of burials. The defectiveness of their
language

CHAP.
VII. The Author's economy, and happy life, among the Houyhnhnms. His
great improvement in virtue by conversing with them. Their
conversations. The Author has notice given him by his master, that he
must depart from the country. He falls into a swoon for grief, but
submits. He contrives and finishes a canoe, by the kelp of a
fellow-servant, and puts to sea at a venture

CHAP.
VIII. The Author's dangerous voyage. He arrives at New Holland,
hoping to settle there. Is wounded with an arrow by one of the
natives. Is seized and carried by force into a Portuguese ship. The
great civilities of the Captain. The Author arrives at England

CHAP.
IX. The Author's veracity. His design, in publishing his work. His
censure of those travellers who swerve from the truth. The Author
clears himself from any sinister ends in writing. An objection
answered. The method of planting colonies. His native country
commended. The right of the Crown to those countries described by the
Author, is justified. The difficulty of conquering them. The Author
takes his last leave of the reader; proposeth his manner of living
for the future, gives good advice, and concludes

LIST
OF ILLUSTRATIONS

I
walked with the utmost circumspection, to avoid treading on any
stragglers, that might remain in the streets His
Excellency, having mounted on the small of my right leg, advanced
forwards up to my face, with about a dozen of his retinueThe
Emperor holds a stick in his hands while the candidates sometimes
leap over the stick, sometimes creep under it backwards and
forwards
several times, according as the stick is advanced or depressed They
perceived the whole fleet moving in order and saw me pulling at the
end The
farmer took a piece of a small straw and therewith lifted up the
lappets of my coatShe
was likewise my school-mistress; when I pointed to anything she told
me the name of it in her own tongue, so that in a few days I was
able
to call for whatever I had a mind toThe
monkey was seen by hundreds in the court, sitting upon the ridge of a
building, holding me like a baby in one of his fore-paws Some
eagle had got the ring of my box in his beak, with an intent to let
it fall on a rock like a tortoise in a shell, and then pick out my
body
and devour it His
Majesty took not the least notice of us — he was then deep in a
problem Their
employment was to mix colours for painters which their master taught
them to distinguish by feeling and smellingI
ran to the body of a tree, and leaning my back against it, kept them
off by waving my hangerI
was going to prostrate myself to kiss his hoof, he did me the honour
to raise it gently to my mouth